Pasquale Verdicchio teaches film, cultural studies, Italian literature and environmental literature in the Department of Literature at the University of California San Diego. As a translator he published the works of Pasolini, Merini, Caproni, Porta, and Zanzotto among others. His own writings of poetry, reviews, criticism, and photography have been published in journals and in book form by a variety of presses. His books include Devils in Paradise: Writings on Post-Emigrant Cultures (Guernica Editions, 1998), Bound by Distance: Rethinking Nationalism through the Italian Diaspora (Fairleigh Dickinson University Press, 2008), and Looters, Photographers, and Thieves (Fairleigh Dickinson, 2011); his most recent poetry collection is This Nothing’s Place was awarded the 2010 Bressani Prize. Verdicchio sits on editorial boards and is a member of academic associations in Italy, the United States and Canada, and is among the founders and a past president of the Italian Canadian Writers Association. He is the recipient of several grants including the California Council for the Humanities for research in the preservation of Italian history and culture in San Diego. He is also a founding and active member of the San Diego Italian Film Festival.
Professor - Italian and Comparative Literature, UCSD
Office: LIT 340
Modern Literature; Poetics; Italian Cinema; Cultural Studies; Environmental Movements and Literatures
1. “Sophisticating Action: Gramsci and Theatre, or Can the Subaltern Act?” in Differences on Stage, A. De Martino, P. Puppa, P. Toninato eds. Cambridge Scholars Publishing, 2013.
2. A BRIEF MEDITATION ON ITALIAN PHOTOGRAPHY in Italian Journal, Volume 20. Number IX, 2013.
3. TWO POEMS BY RENATA VIGANO’ from MONDINE (1955)
in Journal of Italian Translation, Luigi Bonaffini editor, CUNY, Fall 2014.
4. Looters, Photographers, and Thieves: Aspects of Italian Photographic Culture in the Nineteenth and Twentieth Centuries. N.J.: Fairleigh Dickinson UP, 2011. ISBN: 978-1-61147-018-5
Working toward an analysis of the influence of photography on the construction of an Italian "type" to serve the mandates of the new nation in the 1860s, this book engages the work of writers and photographers who have addressed or participated in this venture. From Giovanni Verga and Italo Calvino writings to the conceptual visual philosophy of Tommaso Campanella and Luigi Ghirri's photography; from the Arcadic gaze of Baron von Gloeden to Tina Modotti's revolutionary vision, the works analyzed in this book have all contributed in shaping our contemporary visual vocabulary. And, while Italy is at the center of my considerations, the ideas that populate this work are in many ways globally applicable and relevant.
Looters, Photographers, and Thieves seeks to contribute to the fascinating discourse on the photographic image and its specific uses in the representation of racial, ethnic and gender difference, and suggest how the isolation of images according to the dictates of power relations might influence and condition ways of seeing.
Finally, this book is meant as a locus where the images produced in the shaping of notions of citizenship and cultural relevance in nineteenth and twentieth century Italy might reveal the processes of the imaginary. As such, the arguments and images in each chapter thread through each other to propose ways by which to approach disparate subjects and forms in order to envision photographers themselves as seers rather than gazers.
5. "Documentary on the verge of progress" in Studies in Documentary Film. Volume 5 Issue 2-3, August 2011.
6. This Nothing's Place. Poetry. Toronto: Guernica, 2008.
7. "'O Cuorp' 'e Napule: Naples and the Cinematographic Body of Culture." In: Italian Neorealism and Global Cinema, Laura E. Ruberto and Kristi M. Wilson eds. Detroit: Wayne State University Press, 2007. Pp. 259-289.
8. "Return voyages : Rossellini, Scorsese and the Identity of National Cinema." In: 'Merica:a conference on the culture and literature of Italians in North America. Aldo Bove and Giuseppe Massara eds.. Stony Brook, NY : Forum Italicum Publishing, 2006.
9. Translation of Antonio Gramsci's The Southern Question. New Edition with New Introduction. Toronto: Guernica Editions, 2006.
10. "Imaging America: The Photography of Lewis Hine and Jacob Riis" in Public Space, Private Lives: Race, Gender, Class and Citizenship in New York, 1890-1929. European Contributions to American Studies, No. 53. Amsterdam: VU University Press, 2004. PPG. 333-340.
11. "The Place of Identity: San Diego's Little Italy and Community as Archive" in Italian Immigrants Go West: The Impact of Locale on Ethnicity. Worral, Janet, Carol Bonomo Albright and Elvira Fabio Eds. Chicago: Italian American Historical Association, 2003. ppg. 10-24
12. "Tina Modotti: Putting Art into Life" Sandpail Productions, L.A.. Video Documentary. 22.35 minutes. 2002
Translation with Stephanie Jed of The Holy Land by Alda Merini. With introductory essay. Poetry. Toronto: Guernica Editions, 2002.
13. "Renaissanceland: Virtual Cities and Historical Space." In The Poetics of Place: Florence Imagined. Florence: Olschki Ed., 2001. Ppg. 195-202.
14. "Pasolini's The Savage Father: Colonialism as a structure that wants to be another structure"' and translation of The Savage Father by Pier Paolo Pasolini, Toronto: Guernica, 1999.
15. Bound by Distance: Rethinking Nationalism Through the Italian Diaspora. (Madison: Fairleigh Dickinson University Press,1997),
16. Devils in Paradise: Writings on Post-emigrant Cultures.(Toronto: Guernica, 1997).
17. "The Preclusion of Postcolonial Discourse in Southern Italy." in Revisioning Italy: National Identity and Global Culture. Beverly Allen and Mary Russo editors. University of Minnesota Press, 1997); p. 191-212.
18. "Horizontal Languages and Decolonization: The Reorganization of Culture in Southern Italy."Essay on contemporary cultural/musical developments in Southern Italy and their ties to cultures outside of the peninsula. On www.italianrap.com.
19/. "'If I was six feet tall, I would have been Italian': Spike Lee's Guineas." Differentia: review of Italian thought, Queens College, Number 6-7, Autumn 94 (pp. 177-192)